Temat: marina - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Dom - ojczyzna w emigracyjnej poezji M. Cwietajewej
Home - Homeland in M. Tsvetaeva’s Emigration Poetry
Autorzy:: Ndiaye, Iwona Anna
Powiązania:: https://bibliotekanauki.pl/articles/973976.pdf
Data publikacji:: 2008
Wydawca:: Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:: home
homeland
emigration
metaphor
alienation
poetry
Marina Tsvetaeva
Opis:: Home and its attributes as designata of the homeland in Tsvetaeva’s poetry occur in various pictures. These are among other things: home-reminiscence and home-dream. The first case con- cerns Russia before emigration. The second home is a metaphor of the return. The existence in exile, involving the fact of physical and spiritual alienation, entails the way of perceiving oneself. Tsvetaeva believed in the possibility of finding the way home, but it never arose.
Źródło:: Acta Neophilologica; 2008, X; 139-146
1509-1619
Pojawia się w:: Acta Neophilologica
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Muzyczno-synestezyjna przestrzeń Mariny Cwietajewej w eseju autobiograficznym „Matka i muzyka”
Marina Tsvetaeva’s Musical and Synaesthetic Space in My Mother and Music, Her Autobiographical Essay
Autorzy:: Ojcewicz, Grzegorz
Powiązania:: https://bibliotekanauki.pl/articles/444676.pdf
Data publikacji:: 2020-06-01
Wydawca:: Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:: Marina Tsvetaeva
music
synesthesia
childhood
poetry
toxic mother
Opis:: The author presents Marina Tsvetaeva’s musical and synaesthetic space on the basis of My Mother and Music, her autobiographical essay. Synaesthesia, although present in the life of Tsvetaeva as a young child and adult poet, is not especially depict-ed in this particular piece of work. The writer chose her memories which encompass a significant period of time from her birth to her 42nd birthday as her main narrative focus. The musical sphere of the young child was presented through the piano and its attributes (the keyboard, pedals, music stand, metronome, notes, piano stool), which were a source of various – both positive and negative – experiences for this sensitive girl. Marina Tsvetaeva’s mother, unfulfilled as a pianist, undoubtedly played a toxic role in her musical education. Maria Tsvetaeva “drowned and killed her daughters with music”, making them feel an organic resistance towards required physical and mental efforts far too great for their age. The situation changed after her mother’s death when Marina could pour all her love for music into incredibly original lyric poetry, becoming one of the greatest writers of the 20th century.
Źródło:: Acta Neophilologica; 2020, XXII/1; 149-170
1509-1619
Pojawia się w:: Acta Neophilologica
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: О ПРИЕМЕ «УСВОЕНИЯ»: ЛЮБОВЬ АРМАНА-ЛУИ ЛОЗЕНА И ИЗАБЕЛЛЫ ЧАРТОРЫЙСКОЙ В ПЬЕСЕ МАРИНЫ ЦВЕТАЕВОЙ ФОРТУНА
POETICS OF APPROPRIATION: LOVE OF DUC DE LAUZUN AND IZABELA CHARTORYSKA IN MARINA TSVETAEVA’S PLAY FORTUNA
Autorzy:: Janczuk, Elena
Powiązania:: https://bibliotekanauki.pl/articles/445040.pdf
Data publikacji:: 2015-06-01
Wydawca:: Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:: Marina Tsvetaeva
Fortuna
intertextuality
poetics of appropriation
identity
Opis:: This article discusses the poetics of appropriation of historical and literary material as a way of the reevaluation of the past proposed by M. Tsvetaeva. In the poet’s consciousness, the coexistence and comparison of different times and historical parallels are inevitably linked to her presence and, at the same time, the material employed by Tsvetaeva does not only show any reality, but it recreates reality according to her own vision of this particular material. Tsvetaeva accentuates the primacy of created reality over historical existence. One part of Tsvetaeva’s play Fortuna presents the transformation of the real love story between Izabela Chartoryska and duke Lauzan into a literary history, and finally the process of the disappearance of this story in her real life. ‘Disappearance’ of Lauzan’s image leads the poet in her life and Tsvetaeva becomes engaged with Lauzan by a very idiomatic relationship.
Źródło:: Acta Neophilologica; 2015, XVII/1; 103-112
1509-1619
Pojawia się w:: Acta Neophilologica
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Każda droga ma kres (tragiczna przystań reemigrantki Mariny Cwietajewej w Jełabudze w świetle Dzienników Gieorgija Efrona)
Every Road Comes to its End: A Tragic Haven for Remigrant Marina Tsvetaeva in Yelabuga in the Context of The Diaries of Georgy Efron
Autorzy:: Ojcewicz, Grzegorz
Powiązania:: https://bibliotekanauki.pl/articles/444883.pdf
Data publikacji:: 2019-12-01
Wydawca:: Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:: Russian remigration
Marina Tsvetaeva
Georgy Efron
Yelabuga
suicide by hanging
Opis:: This paper presents the last few days in the life of Marina Tsvetaeva spent in Yelabuga, which eventually led the writer to commit suicide. The notes included in the diary of her son, Georgy Efron, are an important and original source of knowledge on Tsvetaeva’s mental and physical state. The 16-year-old boy’s reaction to the death of his mother may come as a surprise if a broader social and biographical context (a migrant and remigrant biography of the poetess and her teenage son as well as the reality of the Stalinist country, where – contrary to the assurances made by the propaganda – there was no safe haven for people returning from post-Revolution exile) is not taken into consideration.
Źródło:: Acta Neophilologica; 2019, XXI/2; 141-158
1509-1619
Pojawia się w:: Acta Neophilologica
Dostawca treści:: Biblioteka Nauki

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